I keep my complete writings housed on a separate site, Artist's Texts. My most recent Essay series 'Out of Time' looks at Painting's relation to Postmodernism through the lens of MoMA's Forever Now exhibition.
Out of Time (part 1): 'Forever Now' and the New Landscape of Painting.
Painting has had it rough lately, it’s as if constantly dying and being reborn has really taken something out of the medium. For better or worse it has been yoked to the very definition and expectations of what art is, and painters have become accountable not only on formal but also economic grounds. Hatred of “Provisionalism” has given way to similar reactions about “Zombie Formalism” where a good deal of the criticism hinges not on the work but on how it is being made and just who is buying it. The new crisis of criticism in contemporary painting hinges on just how slippery the medium is and how its relations to the constantly shifting ground of the art worlds have been exposed...
Out of Time (part 2): In the Desert.
As part 1 of this essay considered the metaphorical space of the desert as a model for the new condition of painting within Postmodernism, the physical space of Forever Now is equally revealing. The exhibition is on the top floor, sitting in stark contrast to Matisse’s cut outs. Compared to the lyrical journey on a pleasantly winding path that circumnavigates one of the high-water marks of modernism and pure pleasure in color and form, how is an exhibition mucking around in the creation of the grimy present supposed to stand up? The show feels as if it is being hyped to raise its profile as much as possible just on the way to the 4th floor. A large painting hangs over the main lobby like a billboard and several monumentally framed pieces are propped against the wall on either side of the entrance, like outsized carnival barker’s signs. Once inside the large space is divided into a series of branching chambers with partitions encouraging meandering and no strict path, but also no exit except back the way one came. Dead-ending against the back wall forces the viewer to rebound and wind one’s way back through the show and make new connections and consider different relations and viewpoints. The exhibition layout cancels any hierarchy and allows for slipping glimpses of how some model of the whole might lock together. Looking at the show is an exercise in exploration, of navigating terrain that is not set...
Out of Time (part 3): A Wandering Market.
… Or, Attack of the Giant Killer Robots!
As Forever Now has engaged the critical debate around painting through the lens of technology and science fiction, and if our current context or the paintings themselves (see Part 1 and Part 2) don’t support this argument, there may still be a way to map contemporary fictions onto the landscape of painting. Popular criticism of the show has been unable to avoid discussion of the current art market and its influences, and most of what has been written certainly has a dystopian flavor. So if the Postmodern landscape of the art world is a “Desert of the Real” and artists are working inside of this new (or really not so new) reality, then we must also consider that the structures that surround and support that art have also changed, perhaps without us knowing, perhaps irrevocably. The issue at hand in any contested environment is not only what can be done to right the mistakes that brought us to this place, but what unintended consequences we might visit on the future.